Casting directors remain the only job in the opening titles that doesn’t have its own Oscar category, but there’s reason to believe that will change. Already recognized by the Emmys, casting directors have made tremendous strides since they unionized in 2005 and negotiated their first contract with studios. In 2013, the guild earned its own Academy branch and received three seats at the Academy’s Board of Governors’ table. Last year, Lynn Stalmaster (“The Graduate,” “West Side Story”) received an honorary Oscar at the Governors Awards, becoming the first-ever casting director to receive an Academy Award.
So: Let’s imagine for a moment casting directors had their own Oscar category in 2017: What are the best-cast films of the year?
IndieWire asked 15 of the top casting directors to nominate films worthy of casting recognition this year. We often think of the best films in terms of their expressive cinematography, enveloping production design,...
So: Let’s imagine for a moment casting directors had their own Oscar category in 2017: What are the best-cast films of the year?
IndieWire asked 15 of the top casting directors to nominate films worthy of casting recognition this year. We often think of the best films in terms of their expressive cinematography, enveloping production design,...
- 12/4/2017
- by Chris O'Falt
- Indiewire
An electric chamber piece that couldn’t more perfectly complement “Dunkirk” if Christopher Nolan wrote it, “Darkest Hour” is as rousing and ferocious as Winston Churchill was himself. It’s also a hell of a lot more controlled. Unfolding with the clockwork precision of a Broadway play — director Joe Wright has always been at his best when he’s at his most theatrical — this tightly coiled retelling of Churchill’s first days in office is more than (yet another) passionate appeal to our collective goodness; it’s a deliciously unsubtle testament to the power of words and their infinite capacity to inspire.
That the film arrives at a time when words seem to have lost all their value only makes it that much more persuasive.
Hardly the first time that Wright has fetishized the sway of language and its ability to shape history (“Atonement” was so lost in letters that...
That the film arrives at a time when words seem to have lost all their value only makes it that much more persuasive.
Hardly the first time that Wright has fetishized the sway of language and its ability to shape history (“Atonement” was so lost in letters that...
- 9/2/2017
- by David Ehrlich
- Indiewire
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